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The Pritzker Architecture Prize1998[1]. RENZO PIANO 2 Photo by M. Denancé Reconstruction of the Atelier Brancusi, Paris, France — 1997 Photo by C. Richters Photo by M. Denancé The Beyeler Foundation Museum Basel, Switzerland 1997 Ushibuka Bridge linking three islands of the Amakusa Archipelago, Japan — 1997 Photo by Paul Hester The Menil Collection Museum Houston, Texas — 1987 Photo by Paul Hester Drawing illustrating the roof system of “leaves” for adjusting the amount of light admitted to the galleries. Photo by Hickey Robertson The Cy Twombly Gallery at the Menil Collection Museum Houston, Texas — 1995 Photo by Hickey Robertson THE ARCHITECTURE OF RENZO PIANO — A T RIUMPH OF CONTINUING CREATIVITY BY COLIN AMERY AUTHOR AND ARCHITECTURAL CRITIC, THE FINANCIAL TIMES SPECIAL ADVISOR TO THE WORLD MONUMENTS FUND It was modern architecture itself that was honored at the White House in Washington, D.C. on June 17, 1998. The twentieth anniversary of the Pritzker Prize and the presentation of the prestigious award to Renzo Piano made for an extraordinary event. Piano’s quiet character and almost solemn, bearded appearance brought an atmosphere of serious, contemporary creativity to the glamorous event. The great gardens and the classical salons of the White House were filled with the flower of the world’s architectural talent including the majority of the laureates of the previous twenty years. But perhaps the most significant aspect of the splendid event was the opportunity it gave for an overview of the recent past of architecture at the very heart of the capital of the world’s most powerful country. It was rather as though King Louis XIV had invited all the greatest creative architects of the day to a grand dinner at Versailles. In Imperial Washington the entire globe gathered to pay tribute to the very art of architecture itself. Renzo Piano was not overwhelmed by the brilliance of the occasion, on the contrary he seized his opportunity to tell the world about the nature of his work. In his own words, he firmly explained that architecture is a serious business being both art and a service. Those are perhaps two of the best words to describe Renzo Piano’s work. He was honored by the Pritzker jury because his work has achieved a balance between art and function. It has also always succeeded in being humane, intelligent and resourceful. Building is in Piano’s blood. He is the true scion of a male line of builders his grandfather, father and brother were all involved in construction as were his four uncles. He is also Italian — a member of that nation that brought Western architecture to utter maturity. As Piano said at the White House any architect born in Italy is literally, “swimming in tradition.” But there was never any question of Piano drowning — (he is after all a good and practical Genoese sailor) but he is as interested in invention as in observing architectural convention. Piano’s Italian roots are very key in understanding his work. In Italy it is easier than in many countries for architects and engineers to be closely involved in the construction process and to become developers. His family in Genoa were constructors and his decision to become an architect and to train professionally in Milan could have separated him from the daily realities of construction. In fact there was no chance of that because the joy of building had been bred into him from childhood. Piano still talks warmly of his youthful visits to his father’s building sites where he saw the entire process of building as something of a miraculous event. He was born in 1937 and so his formative years were spent seeing a country reconstruct itself after the war. It was not just the buildings that were being replaced or renewed it was, what Renzo Piano calls “the re-establishment of a normal life.” I think that this idea of the normal is a very important one in relation to Piano’s career. He has been original but not revolutionary. His design solutions are the result of analysis and research and are the best, practical answers to specific problems. There is a sense in all his works of a problem solved — sometimes in a way that is aesthetically thrilling or even strange- but always you know that he just wants to make the building work as well as it possibly can. He may try an experiment to solve the problem but he will not build anything that is not an intelligent solution. Renzo Piano became famous at a relatively young age for an architect. He was only 35 when he won, with Richard Rogers, the competition in 1971 to build the Pompidou centre in Paris. One of his original ideas for the Centre had been to build a giant inverted pyramid but his clear belief in functionality and logic led him and Rogers to opt for the clarity of the giant rectangle of a city block. The Pompidou has been very controversial but it has become during its lifetime exactly what Piano and Rogers wanted it to be — “a joyful urban machine.” Interestingly Piano gets very annoyed if the Pompidou Centre is described as High Tech. Instead he sees it as a parody of the technological obsessions of our times. One of the most important results of the winning of the competition was the meeting between Renzo Piano and the engineer Peter Rice of Ove Arup and Partners. There was instant rapport between this brilliantly inventive British engineer and the young Italian architect, and Peter Rice was to be Piano’s engineer until his premature death in 1992. There was to be a curious time after the Pompidou Centre opened in 1977. Piano felt a sense of exhaustion and fatigue. It had been an enormous lesson in both architecture and life and a triumph for teamwork and constructional innovation. It must have seemed to the young architect that this would never be repeated. In some ways he would have been right. He was never to build with Richard Rogers again and he was to abandon the kind of colourful anarchy of the sixties that infused the Pompidou. There is no doubt that the next building that, chronologically, Piano was to build for the arts was to be altogether more serious and more modern than Paris’s Pompidou. The Menil Collection in Houston, Texas is undoubtedly one of the best and most original museum buildings in America. It owes its success to the client, the late Mme. Dominique de Menil’s intense involvement in the design of the setting for her collections and her successful rapport with her architect. It also, in my view, demonstrates the essence of what Piano is about. He was asked to design a museum in a low scale residential area in Houston that is not monumental and yet houses some of the finest works of art in the world. He was asked to avoid the neutrality of the usual modern gallery spaces. He was asked to provide changing “natural” light while ensuring that the works of art were appropriately protected, secure and conserved. His response was, with his engineer, Peter Rice to solve these challenges in such away that he designed a unique, beautiful and restrained museum. The lightweight concrete “leaves” that form the roof were designed to divert the Texan sun, the timber clad walls are practical in cooling the interior while being contextual with the surrounding clapboard houses. He has varied the finishes and scale of the galleries in such a way that it is possible to see “primitive” art against the planted courts and large scale abstract paintings in big cool spaces. But the most memorable element of this Texan treasure house is the light. And it is light that always fascinates Piano. It is what he calls “an element of construction that is not touchable,” and yet it is what he uses best, as a core component of his architecture. The Menil collections have gone on growing since the Houston museum opened in1986 and Piano completed as recently as 1995 a special small pavilion to house the collection of subtle drawings and paintings by Cy Twombley. This simple, concrete- faced square set of top-lit galleries stands like a modest temple at the foot of the Parthenon of the main museum. The low light levels within make a calm and composed setting and an elegant one. Renzo Piano himself is a far cry from the dogmatic architects of early modernism. He is keen to explain how buildings are made and to convey to others the thrill he felt when he spent time as a child on the building site. In the late seventies he both made television programmes and conducted public participation town planning exercises that were highly successful and enjoyable. There is never any question of mere lip-service — Piano means it when he says that the great themes for an architect today are: 1. the quality of the domestic environment 2. the rehabilitation of derelict areas of cities and 3. especially in Europe — the reclamation of historic buildings. In his television series he revealed a very romantic side of his nature when he spoke of the incredible construction feats achieved in the building of the medieval cathedrals. Using models he showed the wonders of both medieval fabrication and celebrated the involvement of the whole community in the creation of the giant works of art and praise. Giant buildings are not strange today to Renzo Piano — the scale of his achievement by the Millennium will be extraordinary. The Kansai Airport at Osaka, Japan; the Padre Pio Pilgrimage church at Foggia, Italy; the reconstruction of the Potsdamer Platz in Berlin, Germany; the National Centre for Science and Technology in Amsterdam, Holland; the auditorium in Rome, Italy; the two hundred metre tower for Sydney, Australia.
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